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At its core, The Cardboard Kingdom is about the joy and power of imaginative and collaborative play. While nearly every chapter explores a specific thematic issue, those dominant themes always emerge through play. For the children of The Cardboard Kingdom, play is a transformative act that turns their otherwise mundane suburb into a kingdom of fantasy and adventure. It also transforms and shapes them as individuals by allowing them to experiment with their identities, work through issues, and develop problem-solving skills, and as the children learn and grow, they cultivate important social skills that will serve them well in life.
Within each child’s imaginative landscape, the power of play serves specific purposes. For example, Jack, Miguel, and Sophie all use play to explore or express parts of their identity. Jack uses the realm of play to take on the socially edgy role of the Sorceress, a persona that gives him confidence and feels more comfortable than the real-life version of himself. Likewise, Miguel samples a variety of different roles as he attempts to define his feelings for the Prince (who is represented in a film and in the person of his friend Nate, who takes on the role of the Prince during play). However, while Miguel and Jack use their roles to explore suppressed aspects of themselves, things are a little different for Sophie, for her character, the Big Banshee, embodies her core characteristics and gives her confidence to be herself and resist her grandmother’s pressure to change. In each case, play provides an avenue for the children to safely experiment with their identities so that they can confidently grow into the people they want to be.
Play is also a space in which the children learn to solve their real-life problems. For example, Alice and Becky get into a competition that quickly escalates into dangerous territory, but by the end of the chapter, they learn from their mistakes and collaborate on an idea that benefits everyone: the Dragon’s Head Inn. In another chapter, Shikha uses play to manage her unruly brother while her mom works a late shift. Finally, toward the end of the novel, Peter uses play to transform Roy’s bullying behavior into a more constructive contribution to the children’s games. By bringing Roy into their activities rather than fighting against his disruptive presence, Peter ensures that there will be no further conflict and recruits an ally who helps him to fend off the teenage bullies as well.
Throughout the novel, friendships are constantly being formed and developed. In many cases, these relationships come naturally and easily, but this is not the case for everyone, as suggested by the example of Roy and Peter above. Connie and Egon are two other characters who initially struggle with making friends. However, throughout their respective approaches to imaginative play, they each learn valuable lessons and eventually become comfortable joining in the larger group of children; Connie fights her fear of rejection and takes a big risk by inviting everyone to her birthday party, and Egon realizes that being patient and waiting for right person is just as important as remaining true to himself.
The importance of all these examples becomes most evident in the final image of the novel, which depicts the children heading into school to start a new school year, with their elongated shadows shaped like their Cardboard Kingdom alter-egos. It’s an image that suggests how profoundly their summer play has molded them into the people they are destined to become, and the conclusion also underscores the idea that the hours they spent thinking creatively have prepared them for success in the world.
Each chapter of The Cardboard Kingdom is a celebration of diversity and inclusivity, for the interwoven stories feature a diverse cast of characters who collectively model the attributes of a healthy, inclusive community. The novel’s approach embraces a wide range of racial and cultural diversity, and the art features characters from all over the globe and addresses multiple aspects of identity formation. For example, it features several children who are either questioning or exploring their gender identity and orientation. Additionally, the children’s physical attributes show an array of different body types even as their home situations depict many different family dynamics. Importantly, the diversity on display throughout the novel is fully incorporated into the fabric of the narrative and is not a half-hearted attempt to pay lip service to the idea of diversity. In fact, none of the characters are defined solely by their differences; the cast simply represents the diverse makeup of any given suburb in America. For many of the characters, their cultural, racial, and gender identities are not the focus on the story at all. Even when these aspects do play a significant role—as with the stories of Jack and Amanda—the novel reveals a far more nuanced view of the central characters, proving that there is a lot more to each person than an unbalanced focus on their marginalized identities.
The children are also very inclusive and accepting of everyone’s differences. Early in the novel, when Shikha (the Huntress) and her brother start playing with Jack (the Sorceress) and his friends, they assume that the person playing the Sorceress must be a girl; however, once Jack’s headdress is knocked off and Shikha realizes that Jack is a boy, her response is to simply say, “Cool” (27), and everyone continues to play the game. There is no judgement, and the revelation of Jack’s identity doesn’t change their play in any way. They all show a similar acceptance and support of Connie in “The Robot,” for even though Connie struggles with making friends and interacting with other children, everyone supports her by showing up to her unconventional birthday party in full regalia, ready to join in her version of play. This moment becomes a turning point for Connie, who integrates into the group and enjoys the rest of her summer playing with others.
While there are examples of children who do not initially fit in (such as Roy, the bully, and Egon, Professor Everything), their exclusion from the group is temporary and somewhat self-inflicted, and they each learn lessons that allow them to better integrate into the group. Their struggles are also significant because their stories demonstrate that no community is every perfect. Yet although people, social expectations, and cultures constantly change and are inherently fallible, the children retain their ability and willingness to adapt and change so that everyone feels included.
While The Cardboard Kingdom focuses primarily on how the children use imaginative play to learn, grow, and connect with others, it also emphasizes the importance of parental and guardian support. Many of the chapters provide a window into the different home lives the children have, and in every single case, it is clear that parental support—or the lack thereof—impacts them outside of the home as well.
The three most prominent examples of parents or guardians providing unequivocal support come from Connie’s dad, Jack’s mom, and Roy’s Nanna. In each case, the child in question is dealing with a challenge that is difficult to process or solve alone. For example, Connie spends all her time pretending to be an unfeeling robot so that she doesn’t have to confront the challenges that come from childhood emotions, while Jack must navigate his growing understanding that he is different than most of the other children. While the narrative never specifies exactly what Jack feels, it is implied that he is growing aware of his own unique LGTBQ+ identity. Likewise, Roy is struggling with fitting in and dealing with the difficult transition between childhood and adolescence. For each of these characters, an adult steps in at an important moment to provide them with guidance, reassurance, and support. Connie’s dad never forces her to change, but he gives her a gentle push to make friends because he knows that she needs it. Similarly, Jack’s mom reassures him that she loves him no matter what, but she never foists any labels or identities on him. Finally, Roy’s Nanna is a constant source of positivity and support and recognizes that Roy needs to feel a sense of responsibility and control. She understands that he wants to feel like he is growing up, especially since he has little control over his living situation. The impact of these moments is evident in each story; Connie takes a risk and invites everyone to her birthday party, while Jack stops feeling so isolated and realizes that he can be “evil” but still have friends. Likewise, Roy eventually figures out how to integrate himself with the children his age.
The Cardboard Kingdom also demonstrates the negative impact that a lack of support or an unstable homelife can have on a child’s psyche. This dynamic first appears when the outgoing, happy, and energetic Sophie is left with her overly conservative Meemaw and transforms into a shell of herself, even avoiding her friends altogether. Amanda undergoes a similar experience when she realizes that her father disapproves of her scientist costume. Like Sophie, she retreats into herself, and her initial joy is replaced by total dejection. Luckily, these instances are not permanent. Sophie’s mom returns from her trip and reassures her daughter that Meemaw is wrong for trying to change her, and Amanda’s father realizes that his disapproval stems from his own prejudicial enculturation, prompting him to apologize and offer the support that his daughter needs.
Significantly, the novel does not shy away from depicting less-than-ideal conclusions, for Seth is drastically impacted by the weight of his parents’ separation. Initially, the turmoil in his household keeps him from sleeping because he worries that his aggressive dad could show up at any moment, and he feels that it is his responsibility to protect his mom. As the lack of sleep and the tension in the house sap Seth of his characteristic energy and vibrance, his story best illustrates the importance of a stable and supportive home life, as the lack of it so clearly impacts Seth’s life outside the home as well. Additionally, he never finds a long-term solution for his family’s troubles, and the bitter conclusion of his chapter implies that some problems are beyond a child’s ability to solve.
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